Scarlett's Sisters explores the meaning of nineteenth-century southern womanhood from the vantage point of the celebrated fictional character's flesh-and-blood counterparts: young, elite, white women. Anya Jabour demonstrates that southern girls and young women faced a major turning point when the Civil War forced them to assume new roles and responsibilities as independent women. Examining the lives of more than 300 girls and women between ages fifteen and twenty-five, Jabour traces the socialization of southern white ladies from early adolescence through young adulthood. Amidst the upheaval of the Civil War, Jabour shows, elite young women, once reluctant to challenge white supremacy and male dominance, became more rebellious. They adopted the ideology of Confederate independence in shaping a new model of southern womanhood that eschewed dependence on slave labor and male guidance. By tracing the lives of young white women in a society in flux, Jabour reveals how the South's old social order was maintained and a new one created as southern girls and young women learned, questioned, and ultimately changed what it meant to be a southern lady.
Celebrate becoming a big sister or brother with activities and journaling fun There's big news... You're going to be a big sister or a big brother! Welcome to the Family!: A Celebratory Journal for a New Big Sister or Brother is here to help a big sibling-to-be get creative and make big plans as they welcome a new baby. They can play games, write, draw, and color to express their feelings. There are even fun ideas to get the rest of the family involved, too. A budding big sister or big brother can start by writing down special details about themselves and their family. When baby arrives, they'll find ways to learn about their new family member--discover their favorite things, sing songs, and imagine future adventures. There's even space to write notes for their new sibling to read when they're older! Welcome to the Family!: A Celebratory Journal for a New Big Sister or Brother includes: Tons of ways to play--Take quizzes, color the pictures, fill-in-the-blanks, or learn more about relatives with fun interview questions. For every family--Discover lots of ideas that any kind of family can use to make memories and share joy during this super special time. For littler big sibs, too--A younger big sister or big brother can get help from parents with plenty of tips for making activities simpler. Exciting activities and games await every brand-new big sister or brother in Welcome to the Family!
Though one in four pregnancies ends in loss, miscarriage is shrouded in such secrecy and stigma that the woman who experiences it often feels deeply isolated, unsure how to process her grief. Her body seems to have betrayed her. Her confidence in the goodness of God is rattled. Her loved ones don't know what to say. Her heart is broken. She may feel guilty, ashamed, angry, depressed, confused, or alone. With vulnerability and tenderness, Adriel Booker shares her own experience of three consecutive miscarriages, as well as the stories of others. She tackles complex questions about faith and suffering with sensitivity and clarity, inviting women to a place of grace, honesty, and hope in the redemptive purposes of God without offering religious clichés and pat answers. She also shares specific, practical resources, such as ways to help guide children through grief, suggestions for memorializing your baby, and advice on pregnancy after loss, as well as a special section for dads and loved ones.
This is volume 1 of my journals which describe my life as a dominant female. I live with my husband, bitch-boy. Bitch-boy is a subjugated, trapped slave and source of amusement. He does all the chores and housework, and fetches and carries and his reward is enforced chastity, humiliation and punishment. For this journal, the year of writing is 2010. In general, the events within are not in chronological order. Each of the events described are picked at my whim from my extensive diaries of the last nine years of my life. My tastes are eclectic and in the journal entries you will find accounts of petticoating humiliation as little girl, school girl and French maid; accounts of sub-human slave treatment, babyfication, bondage, enforced hospitalisation, dickie-discipline, lesbian cuckolding, the use of an electrical box, tease and denial, and of course sessions of discipline to maintain appropriate standards of submissiveness. My BLOG: http: //msscarletuk.wordpress.co
Screening Scarlett Johansson: Gender, Genre, Stardom provides an account of Johansson’s persona, work and stardom, extending from her breakout roles in independent cinema, to contemporary blockbusters, to her self-parodying work in science-fiction. Screening Scarlett Johansson is more than an account of Johansson’s career; it positions Johansson as a point of reference for interrogating how femininity, sexuality, identity and genre play out through a contemporary woman star and the textual manipulations of her image. The chapters in this collection cast a critical eye over the characters Johansson has portrayed, the personas she has inhabited, and how the two intersect and influence one another. They draw out the multitude of meanings generated through and inherent to her performances, specifically looking at processes of transformation, metamorphosis and self-deconstruction depicted in her work.
One month after her novel Gone With the Wind was published, Margaret Mitchell sold the movie rights for fifty thousand dollars. Fearful of what the studio might do to her story—“I wouldn’t put it beyond Hollywood to have . . . Scarlett seduce General Sherman,” she joked—the author washed her hands of involvement with the film. However, driven by a maternal interest in her literary firstborn and compelled by her Southern manners to answer every fan letter she received, Mitchell was unable to stay aloof for long. In this collection of her letters about the 1939 motion picture classic, readers have a front-row seat as the author watches the Dream Factory at work, learning the ins and outs of filmmaking and discovering the peculiarities of a movie-crazed public. Her ability to weave a story, so evident in Gone With the Wind,makes for delightful reading in her correspondence with a who’s who of Hollywood, from producer David O. Selznick, director George Cukor, and screenwriter Sidney Howard, to cast members Clark Gable, Vivien Leigh, Leslie Howard, Olivia de Havilland and Hattie McDaniel. Mitchell also wrote to thousands of others—aspiring actresses eager to play Scarlett O’Hara; fellow Southerners hopeful of seeing their homes or their grandmother’s dress used in the film; rabid movie fans determined that their favorite star be cast; and creators of songs, dolls and Scarlett panties who were convinced the author was their ticket to fame and fortune. During the film’s production, she corrected erring journalists and the producer’s over-the-top publicist who fed the gossip mills, accuracy be damned. Once the movie finished, she struggled to deal with friends and strangers alike who “fought and trampled little children and connived and broke the ties of lifelong friendship” to get tickets to the premiere. But through it all, she retained her sense of humor. Recounting an acquaintance’s denial of the rumor that the author herself was going to play Scarlett, Mitchell noted he “ungallantly stated that I was something like fifty years too old for the part.” After receiving numerous letters and phone calls from the studio about Belle Watling’s accent, the author related her father was “convulsed at the idea of someone telephoning from New York to discover how the madam of a Confederate bordello talked.” And in a chatty letter to Gable after the premiere, Mitchell coyly admitted being “feminine enough to be quite charmed” by his statement to the press that she was “fascinating,” but added: “Even my best friends look at me in a speculative way—probably wondering what they overlooked that your sharp eyes saw!” As Gone With the Wind marks its seventy-fifth anniversary on the silver screen, these letters, edited by Mitchell historian John Wiley, Jr., offer a fresh look at the most popular motion picture of all time through the eyes of the woman who gave birth to Scarlett.
A child of alcoholics and grandchild of Holocaust survivors, Carly Israel describes her journey to sobriety and the challenges she faces as the mother of a child with complex medical issues. A memoir of recovery and transformation, and a thoughtful reflection on generational trauma, self-acceptance, and gratitude. Foreword by Jennifer Pastiloff.
A unique compilation of childhood writings by the acclaimed author of Gone With the Wind features short stories, fairy tales, journal entries, essays, and single-act plays, all penned from age eight to seventeen.
A teenage boy in 1940s Italy becomes part of an underground railroad that helps Jews escape through the Alps, but when he is recruited to be the personal driver for a powerful Third Reich commander, he begins to spy for the Allies.
